Read about the interesting individuals in our field — from the developers to the creators — and what they have to say about where we’ve been and where we’re headed.
Francisco Partners has concluded its investment in Muse Group — the parent of MuseScore, Audacity, Hal Leonard, and Ultimate Guitar. The move caps a period that also saw notable personnel departures. Here's what changed, and what Muse Group says comes next.
What happens when your notation software can sing? Richard deCosta, founder of Cantai and the Turing Opera Workshop, discusses bringing expressive vocal synthesis directly to Dorico, Sibelius, and MuseScore.
From NAMM 2026: Avid’s Sam Butler and Joe Plazak on Sibelius’s development philosophy, how user feedback shapes priorities, where users should feel progress since last year, plus automation/AI, cross-platform realities, and Avid’s long-term commitment.
From NAMM 2026: Fender’s Chris Swaffer on Notion, what the Fender name signals, refinement and cross-platform consistency, under-the-radar improvements, accessibility, Studio Pro interoperability, and intelligent assistance in service of musicians.
From NAMM 2026: Sebastian Murgul of klang.io on why AI transcription is finally practical, where the hardest musical problems remain, how accuracy earns musicians’ trust, plus MusicXML/MIDI interoperability and real-world use cases.
From NAMM 2026: Steinberg’s John Barron on Dorico’s current development phase, guiding design principles, where users should feel progress since last year, under-the-radar features, playback realism, workflow interoperability, and automation in service of notation.
As we close the book on 2025, it’s time to look back at another year of music notation news, updates, creativity, and conversation.
People with perfect or "absolute" pitch hear every single sound as precise musical notes. Is this extraordinary talent a blessing or a curse? In this episode, our friends at Twenty Thousand Hertz dive into the neuroscience, pluses and pitfalls of absolute pitch.
There was a time when there were no music fonts — and then there was one. Cleo Huggins, the designer of Sonata, the very first music font, tells us all about setting the standard for a new era in music notation.
Paul Beck, principal librarian of the Milwaukee Symphony, discusses his experience both as a freelance music preparer and salaried performance librarian, and offers practical advice for anyone seeking freedom — and responsibility — as a freelancer.
